taking one frame at a time since 1999

Do stop motion animators use the same set(s) over and over for stop motions?

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Hey Nick, interesting, I been learning DaVinciResolve17 over past few weeks, complete beginner, with no experience on Adobe suite at all, but comparing it against FCP (vs. 10.5.4 ) which I'm familiar with.. ( been using it for about two years now ) I noticed that Da Vinci definitely does keying better than FCP.  atleast on the tests I've done.. and not just a little bit, alot lot better quality on the key.. and easier to achieve.. I haven't learnt how to use the FUSION page yet, I was going to start watching YOUTUBE vids on that today, but didn't end up getting around to it yet, I didn't know the BLACKMAGIC website had guides, will check that out next, I use the Resolve FX 3D Keyer on the effects tab top left of the page, you can just drag it onto your clip on the timeline, on the cutting or the editing page.. and use the inspector tab top right, under the effects tab.. there seems to be a number of ways of doing it on there.. that's how I learnt.. but FUSION definitely needs a guide book, had a mess about on there and I could make heads or tails of how to use it.. as with the other pages, the media pool where you import all your media.. easy when you get familiar with it, and the cutting, and the editing page are quite easy, even the Deliver ( rocket ) page where you render your project, is easy when you done it few times.. I noticed it's so similar to FCP.. lots of the commands are the same, and DaVinci feels mostly familiar, must be because I'm familiar with FCP.. the odd one out so far is definitely FUSION..  the sound page Fairlight, I was having a play around, the basics are easy enough, but not sure how to use much on there.. owe year and I notice you have to pay for most of the good filters on there, thought there was a catch of them giving you the software free, most of the stuff that I would use on FCP, you have to pay to have on DaVinci..  one thing I don't like about DaVinci, you can't alter the timing of the clip like you can on FCP.. slow it down 50 percent or whatever.. I much prefer the timeline on FCP, but maybe that's just because I'm more familiar with it at this point...   your talking about RAW then are you, at that size, I'm not sure if you can either, I know on FCP you can actually import RAW files.. the expert told me that.. so I wouldn't be surprised if you can do this on Resolve.. and yes you can load an image sequence of jpegs, that's what I been doing for weeks, although I still haven't fully sussed out how to get it to work, it's hit or miss. the sure way though is to drag into the media pool page your jpgs or import through the menu, whatever, and then drag them onto your timeline either on the cut or edit page.. and it lays them all out on the timeline.. then select 'use optimised media if available' on the playback pulldown menu top of the page.. and on same menu there, select 'timeline proxy mode and quarter or half resolution... and I can't see now but select all your jpgs command A and I think you right click your mouse over any part of the clips and I think it's general optimal media.. Simon told me how to do a few things.. he would know more about this.. but the sure way to do it is get your jpgs onto the timeline and go to Deliver page and render the project as Quicktime, Apple Pro Res 422 HQ and then import that back into DaVinci, and it plays fine, that's how I learnt.. sometimes I can't get the series of jpgs to play back properly / smoothly, it jerks, but if you do render the sequence and reimport it works fine.. like I said I haven't sussed out why sometimes it works and sometimes not the other way, when you generate optimal media.. I don't get it...   you mentioned if you got trees in your foreground, now I had this issue.. I was trying to do track the camera through a over hanging branch to make it look like the camera was coming out of the forrest for my jam3 shot, not the one I posted, this was the first one I did.. and the tree branch didn't key properly.. is it because the leaves are green, and I was doing green screen?  also when I did another shot before that one, where I had a black tree trunk prop in camera and that didn't key out, was that because it was too close to the green screen, that was like 3xft away, on my later tests, I made sure that all the props on the set where 5xft away... and mostly no issues, although that black tree trunk prop still wouldn't key properly.. so I left it in the end.. maybe it's to do with the type of lighting I'm using right.. now I got my new Canon RP on DF I have this Temperature option where I can control it from 2500k upto 10,000k, and I tried using 2500k because I wanted a moonlight affect, and when I keyed it, it worked, but everything had a very strong purple tint.. and when I took it upto 10,000k it was fine, no tint, is that an example of 'hit the puppets with a warm light' ?  and how do you adjust the colour temperature back, in post you mean?  and on DaVinci?  I would love to learn more about lighting, and colour grading especially?? all these are big issues to make your footage look right.. I'm struggling at the moment trying to learn this, doing my head in.. so frustrating.. but I'm determined to understand... I'm going to try and watch DOP documentaries next if I can to learn form the pro's.. see if there are any one seems to talk about this stuff..why is that, it seems to secretive... 

This has morphed into a discussion about Davinci Resolve, so I will continue with that...!

I have just spent a couple of days compositing a clip using Fusion. Having spent a lot of time learning AE a few years ago, I started off with what I knew, i.e. doing it in layers. But once I began to get used to the node-based method, it got a whole lot simpler to understand.

The free version of DR does accept full size jPegs as image sequences, the limit is on what it can output. But I have found it getting stuttery when trying to playback. There are a number of ways to make this easier, the first being to opt for half or quarter resolution in Playback, and the second to use Optimized Media or Proxy media, which both make a small file size clip run instead.

I have also found the Delta Keyer as good as the one available in AE, but finding the buttons to adjust was a bit trial and error! I should read the manual - BTW James, there is one! I will also check out the Blackmagic site for instructions. Still, you learn by doing!

There are a number of gotchas with DR, and unless one is aware of them they can be very annoying. The first is that the frame rate for a project can only be set once, right at the start, and the default is 24 fps. So if you forget to open the settings cog (bottom R of screen) immediately, you are stuck with 24 even if you wanted 30 or 25 or whatever. So one does have to learn some habits with it.

I tried a number of ways to composite my 6 second clip, both in the Fusion page and using the Edit page as a sort of layering tool. None of these worked properly, and I think it was because in the Fusion page the resolution is determined by the first clip you put in - in my case full-size jPegs. So it all ground to a halt. I realised that by opening a Fusion Composition from the Effects Menu (effectively an empty one) it is possible to add a Background Node with 1920 x 1080 dimensions, thus setting the size to something workable.

In the end I went into the standalone version of Fusion Studio, as I think this might be a better route. It seems to be asking a great deal on an ageing computer to have a single program with lots of VFX, colour and editing. My next realisation was that I did not know how to move clips around in time in the comp, like sliding layers along. Until I opened the Keyframe window (top R, next to INspector). This enables one to place several clips in sequence and generally fiddle around with timings. It is almost like a simplified layer stack from AE.

James, you can alter speeds in DR. Right click on a clip, choose Clip Speed and adjust, then choose Clip Duration to make it longer if you are slowing down the speed.

So here is my layout of the composite:

I agree with sticking to the stand alone version of fusion. I find the "bridge" between fusion and resolve a bit confusion. In your node tree, you have 10 loaders?

Seven. plus a plain background, FastNoise, a second alpha background (which I think was redundant).

The reason was that I split the screen in two to make the LEDs glow at different times, by reversing one bit of footage. Then I found I wanted the shot longer than the actual footage, so placed a still of the lower section for the end when it is going down, and a second copy of the top section to keep that candle burning. There was also a wick and a candle flame, the smoke and a keyed Hermit at the R side of frame. Fun and games!

The reason it was suggested to use the standalone version is that for less powerful computers Fusion can use all the available RAM, and does not have to share it with color tabs etc.

I do all my layers in TV Paint, so this use of Fusion is a lot more advanced than I need to worry about.  I'm just preparing for when I lose access to AE.  Sooner or later, the university where my partner worked will check the list of staff with access to their group licence for the Adobe creative suite, and realise she doesn't work there any more.

At the Blackmagic website, go to Da Vinci Resolve 17, then the Training page to get the guides.

First there are training videos, then if you scroll down, the training books.   

What I did was pretty simple - I imported my mov file and put it on the timeline in the Edit page, then went over to Fusion to do the keying.  Then on the edit page I put another image onto a layer below, and I could see the animation keyed over that.

Here's the view in Fusion, and how it looks in Edit.  The background is a frame from my own Halloween Jam entry, and the cat is part of a different group entry, so they don't go together, but it lets me see how the key worked.      

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